Alan Durman Art

"Ear of Corn, Sioux", Mid Century Native American Portrait Beautiful mid century portrait titled "Ear of Corn, Sioux" by Robert Floodstrand (American, 19...

'Modern Dancers', pastel, ink and gouache on fine art paper by French artist, singer and sculptor, Mick Micheyl (1964). Two elegant young men are depicted in a graceful dancing pose, arms outstretched, their lithe bodies so agile and limber. Perhaps one of the dancers was her friend, Philippe, to whom the painting is dedicated on the bottom. The dedication says: 'For you Philippe, all my friendship'. Signed: 'Mick Micheyl'. The work has been newly framed and glazed after having been acquired in the S. of France. It is in fair vintage condition commensurate with age showing minor blemishing on the paper. Upon request a video of the piece can be provided. Dimensions with Frame: H 75 cm / 29.5" W 61 cm / 24" Dimensions without Frame: H 56 cm / 22" W 42 cm / 16.5" About the Artist: Mick Micheyl (1922 - 2019) was born in Lyon and had a busy and rewarding artistic career as a singer, producer, reviewer, metal sculptor, artist. After having received training at the School of Fine Arts in Lyon she became a painter and decorator in the theatre but then commenced a career in the musical activities of a theatrical troupe. She won the ABC competition in Paris in 1949 with a song, Le Marchand de Poésie, which she composed herself. She then performed in many cabarets: L'Échelle de Jacob, Harlequin and Liberty's. In the 1950s she was one of the most important French cabaret singers of that period. One of her titles, 'Un Gamin de Paris', became one of the French standards and also performed by Yves Montand and Robert Clary...

Original colored crayons and pastel drawing on paper. Hand signed and dated on front by David Hockney. Artwork size 16.75 x 14inches. Frame size approx 27 x 24 inches. Provenance: Annely Juda Fine Art; Richard Gray Gallery. Artwork in excellent condition. All reasonable offers will be considered. About the Artist: David Hockney is one of the most influential British artists of the 20th century. Perhaps best known for his serial paintings of swimming pools, portraits of friends, and verdant landscapes, the artist’s oeuvre ranges from collaged photography and opera posters to Cubist-inspired abstractions and plein-air paintings of the English countryside. Often returning to a certain motif again and again, he probes the manifold ways one can see an image or a space. Hockney’s exploration of photography’s effect on painting and everyday life is evinced in his hallmark work A Bigger Splash (1967). “In art, new ways of seeing mean new ways of feeling; you can't divorce the two, as, we are now aware, you cannot have time without space and space without time,” he has explained. Born on July 9, 1937 in Bradford, United Kingdom, Hockney attended the Royal College of Art in London alongside R.B. Kitaj. At school, he studied under both Francis Bacon and Peter Blake, but also credits Pablo Picasso and Henri Matisse for influencing his distinctive and varied style. In 1963, the artist traveled to Southern California for the first time and fell in love with the bright sunshine and easygoing lifestyle. Since then, he has alternated living and working between Yorkshire, United Kingdom, and Los Angeles, CA. In November 2018, his 1972 painting...

French School, Portrait of Queen Marie Antoinette of France, Pastel /oil Pastel on Paper, Rococo, 18th Century. The Pastel is made in the style...

'Portrait of Woman in Pearl Necklace', pastel on fine art paper (see information below), by Charles Camoin (circa 1920s) dedicated to Marie-Louise Tavernier. Regrettably, research on...

Drawing of three girls sitting at a counter by Allie William “Bill” Skelton (American, 1942-1986). Signed and dated "A B Skelton '77" in the lower right corner. Presented in a simple black wood frame with glass. Image size: 20"H x 16"W Allie William “Bill” Skelton (American, 1942-1986) was a painter and sculptor active in San Francisco who was involved in the gay art...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

A late twentieth-century American school portrait of a girl posed against a light slate background and gazing back at the viewer. Displayed in a cream mat. Matted dimensions: 14.5...

Skillful and beautifully rendered pastel portrait of a handsome man, smartly dressed by an unknown artist (American, 20th Century). Textured...

'The Kids', pastel on paper (1967), by Raymond Dèbieve. Picasso's influence is undeniable in this artwork yet Dèbieve's own naive artistic style is on display ...

'Portrait of Smiling Woman', pastel and crayon on art paper, by Raymond Debiève (circa 1970s). Is this a modern version of da Vinci's Mona Lisa? The simi...

Signed lower left 'Creech PSWC' and created circa 1975 A compelling pastel study showing the subject dressed in brightly-colored ceremonial robes and gazing past the viewer. An eleg...